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yurimother · 4 years

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LGBTQ Game Review - A Summer’s End – Hong Kong 1986

Before diving into the meat of Oracle and Bone’s A Summer’s End, I want to talk about the women behind this game Tida Kietsungden, and Charissa So. So and Kietsungden have done nothing but impress me since the announcement of A Summer’s End. They have repeatedly demonstrated their immense effort and dedication to creating a beautiful and thoughtful experience. Through conversations with the studio and reading their blog entries, I gained a remarkable understanding of how this game is both a tribute to classic cinema and a love letter to the Yuri and LGBT community. Through careful research and thoughtful expression, the two women navigate and acknowledge complicated issues, including Asian LGBTQ history and Hong Kong’s delicate political situation with grace and maturity. I am in complete awe of both women and their work. However, regardless of my profound respect for these creators, I still endeavor to offer my unfiltered thoughts on the visual novel, giving praise and criticism where appropriate.

A Summer’s End – Hong Kong 1986 is a Yuri visual novel set, as you may have figured out, in Hong Kong in the year 1986. The game follows a young office worker, Michelle (Fong Ha) Cheung, who has a chance encounter with a free-spirited woman named Sam (Ka Yan) Wong. Both women feel drawn to each other, and the game explores this mutual attraction and the budding relationship which emerges from it.

This plot follows the standard girl meets girl story that has permeated the Yuri genre for the past several decades. Like most Yuri stories, the older and more experienced woman, Sam, is rebellious and beautiful, with long dark hair and a dominating persona. Michelle, although far more naive in the ways of love, breaks the trend of this trope by being the more sullen of the two. I would have liked to see the game diverge a bit more from the standard story of the genre. Fortunately, A Summer’s End is a romance story between adults who do not work together, setting it apart from the norms. It even includes a coming out section that creates a more robust LGBT identity than any tale of temporary schoolgirl love.

The story is well put together and well presented. The story is told primarily from Michelle’s perspective. It mostly takes place over a few days, during which Michelle engages in a whirlwind romance with Sam. This story features the struggle between her feelings and passion and her devotion to tradition and her mother. The progression of her affection is unrealistically fast. The story feels a bit rushed, and many of the societal and personal quagmires the game stumbles upon are not sufficiently developed or confronted. Had the game indulged in a more prolonged and tumultuous struggle for Michelle, conclusions would have felt much sweeter, and the story would have gone from good to great.

Even with this massive missed opportunity, there are plenty of exemplary moments and aspects of the narrative. The game pulls no punches addressing Michelle’s slightly overbearing mother and the conflict between the two. It would have been incredibly simple to take the easy route on this one. Still, the developers stuck to their guns and manage to explore a challenging situation satisfyingly, all while keeping the characters realistic and sympathetic. In fact, every scene relating to LGBT rights and history is flawlessly executed.

There are also some fantastic chapters, including a thrilling but refreshing bike ride and a flashback scene that recontextualizes certain events from another perspective. The many references and allusions to classic cinema including some older lesbian films and plenty of Asian works, are particularly noteworthy. However, the best part of A Summer’s End by far is the setting.

The location and time period is intrinsic to Sam and Michelle’s tale, as it is shaped by and reflects contemporary culture and LGBTQ rights. Oracle and Bone create a vibrant and lively world, a jaw-dropping depiction of Hong Kong in the 1980s. Everything helps feed into the creation of this world, including a fantastic and retro UI, small touches such as a Cantonese subway announcement, and objects encountered like a disposable camera help convey a strong sense of the period. However, the soundtrack sells it more than any other element, save perhaps the artwork, transporting the player to the era. While a few tracks are the standard easy listening affairs one expects from visual novels, there are tons of excellent city pop and disco beats, complete with plenty of synths and confidence! Finally, a visual novel soundtrack that contributes more than just background noise!

Sadly, the game’s dialogue choice system and branching paths are far more of a hindrance than a help. I can honestly say that the game would play better and be way more enjoyable as a kinetic novel. Most choices feel inconsequential, changing nothing of the story and resulting in almost the exact same response from other characters yet, they have a hidden points system. If you do not earn enough points, parts of the optional adult content will be unplayable until one goes back to find the right choice. I spent several hours replaying, and eventually skipping through, the game to unlock all the scenes, and finally gave up with one CG left unseen. The only choice with any actual effect is painfully evident in its consequences. One option leads to the bad ending, which is well written, but no reasonable player would go down that path unless they just wanted to see the whole game. The second unveils the true good ending, which no player in their right mind would not pursue, as again, the choice is obvious and adds nothing to the game. There is no reason to put in an alternative ending or tedious dialogue choice.

The characters in A Summer’s End are well constructed. Sam is adventurous without being obnoxious and has a mature though appropriately unrefined demeanor. Michelle is extremely curt and somewhat distant, although she displays a sharp wit and more timid nature on occasion. Both women participate in engaging, deep, and thoughtful discussions, often with each other, although sometimes internally, and thus feel well developed and complex. Unfortunately, their chemistry, while not absent, is not enough to sell the whirlwind romance. There is insufficient expression of their feelings and attractions, both internally or through dialogue and actions, so their inevitable closeness feels unearned.

However, even in the short game, both characters change with each other, especially Michelle, as she becomes more affectionate, confident, and caring. She begins to embody some of Sam’s warmness while never losing herself. Some of my favorite dialogue and interaction came from her towards the end of the game, although I will not spoil it. Additionally, side characters have a strong presence thanks to their firmly established characteristics and a profound effect on the narrative. Each has their own sprite and mannerisms, helping cement them as fixtures in A Summer’s End rather than tacked on assets.

The visual novel contains optional adult content, which is installed in an extra patch and can be toggled on and off. I played through the game with and without it and can happily report that the story is just as fulfilling and complete without it. Although the unlockable nature of these scenes is aggravating, they are very well written and sensual without being exploitative. There were moments I did not care for as much, such as Sam getting carried away at one point, but it felt very realistic and incredibly sensual. The artwork in these sexual encounters is some of the best in the game, embracing darker colors and showcasing intense desire.

Speaking of the artwork, it is stupendous. The game is bright and striking, with amazing backgrounds complete with luminous neon signs, glaring televisions, and life and activity oozing from every corner. The backgrounds are so beautiful and detailed they could effectively serve in place of CG art, although there is plenty of that asides. The character models and designs are similarly excellent, with expressive poses and faces. The various outfits, of which the game has many, embody iconic 80’s fashion. Artist Tida Kietsungden draws both the characters and CGs with a distinctive hand-drawn style, which allows them to play well off each other and add to the beautiful presentation. The detail and care that went into the aesthetics are enormous and elevate the game at every moment.

A Summer’s End – Hong Kong 1986 is a vibrant and intimate experience. The fantastic setting and flawless artwork surround a compelling and thoughtful story about lesbian love and desire, societal expectations, and the bonds between family and lovers. It is rough around the edges, with a slightly rushed story that leaves little time to wallow in complexity and an awful dialogue system. However, it will win players over with its striking presentation and sophisticated subject matter. I look forward to more from this studio and highly recommend you check this game out!

Ratings: Story – 7 Characters – 6 Art – 10 Music – 8 LGBTQ – 8 Sexual Content – 3 (8 with patch) Final – 7

Purchase A Summer’s End on Steam and itch.io, available April 23

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#Yuri #lgbt #lgbtq #lgbtq+#queer #gay #reivew #a summer's end #hong kong #girls love #gl #wlw #lesbian #visual novel #games #video games #gaming #manga #anime #reviews

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tensegritywiki · 7 years

Video

vimeo

Cloud Pavilion from Jason Dembski on Vimeo.

Cloud Pavilion

25 May–3 June 2016

Plaza Sai Van Lake

Macau SAR China

A collaboration between architecture students from the University of Saint Joseph and media students

from City University of Hong Kong, the Cloud Pavilion was a temporary structure located at the edge of

Sai Van Lake, Macau. It used a tensegrity structure constructed from bamboo rods, steel cables, and fabric

panels, which acted as dispersed screen for a video mapping installation. The structure comprised 174 one-

meter-long bamboo rods, 250 meters of galvanized steel cable, 1000 steel-wire cable clips, 100 stainless

steel turnbuckles, and 18 meters of white stretch fabric. The opening night featured live performances by a

number of Macau-based dancers. By applying advanced digital techniques to vernacular construction

methods, the pavilion is intended to be small-scale reinterpretation of Macau’s historical building culture

while simultaneously responding to the iconic architectural forms and dynamic lighting effects that define

the city’s contemporary visual identity.

CREDITS

Bamboo Structure (Department of Architecture and Design, University of Saint Joseph)

Professors

Jason Dembski

Diogo Teixeira

Students

Bryan Qingrong Zeng

Delia Fong Ian Wong

Cynthia Iao Hio Sin

Sam Sou Hou Wan

Gloria Ao Ieong

Kyle Cheong Hoi Kei

Michael Stanly Loyola Zapanta

Wong Pui I Anna

Gui Jesus Carvalho Freitas Da Silva

Rosita Ka In Pang

Eugenio Fiumi

Andrea Bonizzato

Video Mapping Installation (School of Creative Media, City University of Hong Kong)

Professor

Tobias Klein

Students

Ahamed Junaid Ibrahim

Vanetta Law Chung Yan

Kelvin Ma Chun Yu

Kwan Kin Wai

Chan Sui Ling

Chan Chun Kit

Chung Hiu Lam

Tsang Ka Wai

Angus Wing-chung Chan

Ronald Ng Pak Kei

Pauline Cheng Pui Lam

Venus Ng

Carol Tse Oi Ping

Chow Wing Nam

Lau Nga Fong

Tsui Ka Wai

Ho Ka Yee

Camellia Wong

Kai Cheuk Hei

Ko Yee Ki Kelly

Agnes Tang Hio Tong

Kwan Siu Yin Marvin

Wong Wai Yin

Henry Kwok

Iki Leung

Timothy Lam

Jesse Ma

Bill Yau

Kelvin Lee

Kelvin Li

Wun Hei Dominique Leung

Shin Jaekyung

Chow Yun Fu

To Tsz Sum Janice

WanYu Chun

Chan Ling Chi

Chan Wai Sze

Yuen Wing Tung

Ho Ngan Ping

Tina Yam Tin Yan

Opening Night Performances

Shape Shifter (Performer: Neil Sweeney)

Untitled Duet (Performers: Halfan Saddi & Stanley Martin)

Fabric of Desires (Performer: Heather Spilka)

Capoeira Trio (Performers: Neil Sweeny, Isaac Braga, Janusz Ciechowski)

Support

University of Saint Joseph

City University of Hong Kong

Macau Foundation

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